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MASTERPIECES OF 


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ROMANESQUE AND ALLIED STYLES 


ONE HUNDRED PLATES 
FROM 


. MONUMENTOS ARQUITECTÓNICOS 
DE ESPAÑA 


WithetextepveJ GOONS VeAVANTPEET © FAR AltA. DO. 


LIBRARY OF ARCHITECTURAL DOCUMENTS 
VOLUME IV 7 


EUGENE Cute, Editor 


NEW YORK 
THE PENCIL POINTS RRESS ING) 


159,215 


THE ROMANESQUE AND 
AELIED-STPYEES-OF ARCHITEC TE 
IN SPAIN 


DESCRIPTION OF THE ORIGINAL WORK 


HE Monumentos Arquitectonicos de Espana not only deals with monu- 
ments, but is in itself a monumental work. The first archaeologists of Spain 
were called in to expend their most arduous labors and most advanced eru- 

dition on the task. Measurements of buildings were taken with extreme care and 
the engraver’s nicest skill called into play. ‘The colored plates, of which there 
are not a few, were of the best scientific and artistic craftsmanship of that pe- 
riod. Even the paper is of beautiful texture and the sheets are of unusual size, 
about 22” x 28”. The work was intended to cover the whole of Spain and all time 
of which there is historical record, in the building and sculpture of the land. 
Unfortunately, this enterprise was never completed. It is, in fact, almost impos- 
sible to obtain entirely complete copies of what was published. A Spanish 
grandee might have subscribed but during the long period of time from 
the 3d of July, 1856, when the Royal Decree naming the Commission was pro- 
mulgated, until about 1880, the grandee may have died or single plates may have 
struck the fancy of someone in the household and may have been withdrawn to 
frame. 


Our present publication is of one hundred sheets, excerpts from the sec- 
tions covering the Latin-Byzantine and Romanesque periods. The original 
was divided into provinces and on the plates was engraved the styles to which the 
buildings belong. Three great divisions were established: Pagan Art, Christian 
Art and Mohammedan Art. ‘The secondary divisions were those of Latin-By- 
zantine, Moorish, Gothic, Renaissance, etc. 

The book was printed at the National Printing Office of Spain and the 
amount of labor and care expended upon the engraving is stupendous. In fact 
this engraving is so delicately printed, in many instances with different colored 
inks, that its reproduction in the present volume has been a typographical feat. 

This edition includes plans, elevations and sections and a large number of 
details and elements of sculpture of very great value to the architect and the 
student of architecture. 


SPANISH STYLE DISTINCTIONS 


PANISH architects and archaeologists, differing from the usual custom, 
make a distinction in the sequence of styles earlier than the Gothic. That 
is probably the outcome of the unusual national distinctions that became in- 

digenous to Spain through the conquest of the country by markedly contrasting 
races. 

Somewhere about 1100 B.C., the Phoenicians founded Cadiz and Malaga 
on the southern coast. The Iberians, who were the original inhabitants as far 


bo 


THE ROMANESQUE AND ALLIED STYLES 


back as historical records run, amalgamated with the Celts who came down 
through the Pyrenees about 500 B.C. and formed a single people, the Celtiberians. 

In the Third Century B.C., the Carthaginians invaded Spain and at the end 
of this century they were driven out by the Romans. Shortly before the Chris- 
tian era, the Romans conquered practically the whole of the peninsula, leaving 
only the Basques, a remnant of the original Iberians, to maintain their independ- 
ence in the north. Thus a modified Latin influence was opposed by a sturdy ele- 
ment in the extreme north. In the early part of the Fifth Century after Christ, 
the Vandals overran Spain and they were followed by the Visigoths who, toward 
the end of the century, put an end to the dominion of the Romans. In the Sixth 
Century, the Visigoths established their rule over the whole peninsula and they 
remained in power until, in the early part of the Eighth Century, the Moors, 
under Tarik, appeared and slew Roderick, the last of the Visigoth kings. From 
that period on through the Ninth, Tenth and succeeding centuries, there were 
two distinct divisions in the peninsula, the Moorish in the south and the Christian 
in the north. It was not until 1492, the year of the discovery of America, that 
Granada was taken by Ferdinand and Isabella and the Moorish dominion ended. 

As has been said, the architectural expressions that resulted from these dif- 
ferent conquests and dominations are broadly defined by the Spaniards as Pagan, 
Christian and Mohammedan. 

Of the early pre-Roman architecture and sculpture very little remains. 
Even the Roman buildings show little more than ruins, the most important struc- 
ture being the Aquaduct at Segovia. There are some bits of sculpture to be found 
in the capitals of the columns of the Mosque of Cordova at Toledo and Merida. 
The small Basilica of St. John the Baptist, at Banos, has horseshoe arches of about 
the middle of the Seventh Century. See pages 31 and 33. 


It was not until after the Visigoths had established their dominion, indeed 
not until the early influx of the Moors had somewhat abated in fierceness, that 
we find such monuments as the churches of the Ninth and Tenth Centuries, San 
Miguel de Linio, Santa Maria de Naranco near Oviedo, San Salvador de Valde- 
dios, Santa Cristina de Lena, San Miguel de Escalada and San Pedro de las 
Puellas at Barcelona, all built before the end of the Tenth Century. These are 
grouped by the Spaniards under the definition of Latino-Byzantino, or Latin- 
Byzantine. As a matter of fact, although they are in many ways akin to what is 
sometimes called the early Romanesque in Italy and France, their capitals and 
ornaments have a distinctly Byzantine quality. Some of the arches are pointed. 
The plans of the churches are usually rectangular, sometimes cruciform, with 
simple barrel vaulting. 

Toward the end of the Eleventh Century, the Romanesque influence of 
France and Italy became marked. The plans of the churches were more gen- 
erally cruciform. Over the crossing a polygonal dome or tower was usual. San- 
tiago de Compostela, a modified copy of St. Sernin at Toulouse, is one of the 
most important monuments of this time and betrays a distinctly French influence. 
The beautiful Panteon de San Isidoro (see pages 157 to 161) is another fine 
example. 

In the Twelfth Century, the style became more distinctly Spanish and the 
archaeologists of Spain are prone to designate the period as Romanesque, al- 
though from our point of view it is transitional. The Gothic arch and an early 
form of ribbed vaulting are in evidence. Perhaps the mast interesting example 
is the old Cathedral at Salamanca (see pages 35 to 49 inclusive). Its tower was 


THE ROMANESQUE AND ALLIED STYLES 


the prototype of H. H. Richardson’s Trinity Church in Boston and it has the pe- 
culiar quality, owing to the form of its plan, of being beautiful from all points 
of view. The Cathedrals at Tarragona, Tudela and San Vicente at Avila are 
other noted examples of the same architectural development. 


This distinctly Spanish expression of a strong and vigorous style was merged 
by degrees in a new foreign impulse coming from Gothic France. Although 
the Spanish Gothic churches are different from the foreign prototype, being vaster 
in scale, (in the case of the Cathedral of Seville, some 5 metres wider than the 
usual French nave) they are in many ways less individual than the beautiful ex- 
amples of the later Spanish Romanesque. 

The other influence that crops out from time to time in manifestation 
along the southern border of the Romanesque areas is that of the Moorish archi- 
tecture that flowered south of Toledo. It was but natural that combinations of 
different kinds should manifest themselves. See among our plates the detail of 
the Cloister of the Church of San Miguel de Linio, page 53, and the Cloister of 
San Pedro y San Pablo in Barcelona, page 151. 


APPLICATION OF THE SUBJECTS SHOWN TO MODERN USES 
Es since mediaeval times the world has periodically responded to the beau- 


tiful expression of emotion that is the universal characteristic of Romanesque. 

Probably it is due in some measure to the simplicity and vigor of the 
buildings: of that period. In addition to this, anyone sensitive to beauty 1s 
delighted by the skillful contrast of decorated and undecorated masses, surfaces 
and ornamental line and form presented, almost without exception, in the build- 
ings of the Romanesque period. Undoubtedly, the sincerity of the expression of 
the artists of that day makes a strong appeal and the solemn majesty and even the 
somberness of the churches create a deep impression upon anyone at all suscep- 
tible to such influences. Evidences of this were noticeable in Spain with the 
restorations and additions of such churches as San Vicente at Avila. 


H. H. Richardson was so enamoured of the style that the greater part of 
his work bears its impress. Following him, a number of Romanesque, or so- 
called Romanesque, atrocities were erected in America, to such an extent that it 
became a well entrenched fashion of the second half of the last century. As in 
all things American, this was followed by a strong reaction, so that we may con- 
sider ourselves fortunate that the buildings of this country are usually short-lived 
and that many of the ugly pretences to Romanesque design, where details have 
been copied with no perception on the part of the architect of the true spirit of 
the style, are disappearing. Indeed, this reaction was so strong that prior to the 
World War, the American architect felt as though he had launched into a field al- 
most taboo if he gave rein to his personal inclinations and accosted this beautiful 
recluse. The swing of art from impressionism through futurism to symbolism, 
with such spokesmen as Clive Bell, the tendency of tourists after the World War 
to invade Spain, and possibly a psychological stimulation resulting from the War 
itself, coupled with the publication of a number of excellent architectural works 
on Italian and French Romanesque, have tended to revive interest in the style. 
Unquestionably, the astonishingly satisfying result attained by the firm of York 
and Sawyer in using Romanesque as the medium of expression in the Bowery 
Bank, has acted as an incentive to others to try for success in similar manner. The 


THE ROMANESQUE AND ALLIED STYLES 


danger in trying to emulate such an excursion into new and promising fields is 
that those that imitate do not act from conviction but merely because they think 
that in the imitation lies a convenient source of advantage. As can be seen in the 
followers after Richardson, elements of a style may be copied without any evi- 
dence of skill in composition, of real response to the feeling of period or the de- 
mands of the problem in which these details of the style are applied. It is because 
of this that the engravings held between the covers of the Monumentos Arqui- 
tectonicos de Espana are so valuable. Spanish Romanesque, the expression of 
a people of intensely fervid temperament, is instinct with an emotive and stirring 
force that cannot fail to awaken a response in all not entirely dead to such an 
appeal. ‘The work has been almost unknown to architects because of the limited 
number of copies procurable on account of their cost and the cumbersome size 
of the portfolios. ‘The convenient form of the present reproductions, although 
they cannot retain all of the charm of the original engravings, tremendously outdo 
them in usefulness. ‘The greater number of the original drawings was made in 
rectilineal projection and the scales or sizes in metres are shown on almost all of 
the plates. This makes it possible to establish the actual dimensions of the structure 
and affords a tremendous advantage over the ordinary photographic representa- 
tion. Furthermore, in most cases, the shadows have been accurately cast at 45° 
so that the projections of the different elements and motives can be gauged with 
precision. 

It will be interesting to the student who cares to make some study of 
the style to notice the plans and general arrangement of the churches. Pages 31, 
115, 141, 165 and 167 contain plans of the Latino-Bizantino period with a square 
altar end of the Basilica type, while pages 25, 33, 73, 93, 103 and 149 belong to 
the Estilo Romanico (later Romanesque or transition) and have semi-circular 
apsidal ends or chapels. It has already been noted that the cruciform plan be- 
came a feature of the later Romanesque. This is not evidenced by several plans 
shown in the book because they are of smaller dimensions. ‘The cross is marked 
in the old Cathedral of Salamanca, page 35, and a more careful inspection of such 
plans as the Parochial Church of San Millan (Segovia) Page 93, amplified by 
an examination of the elevations and sections, pages 95 and 99, revises the first 
impression and discloses the cruciform arrangement of the interior covered by 
a dome with characteristic Romanesque pendentives at the intersection into which 
the nave and transepts penetrate, the side aisles being lower than either. 

Some of the earlier buildings are tremendously impressive in their sim- 
plicity. The Church of San Salvador de Valdedios, pages 115 and 117, is sugges- 
tive of what might be done in a small village church by the contrast of openings 
and a plain wall surface. The Hermitage of Santa Cristina, Province of Oviedo, 
page 141, has an unusually interesting cruciform plan with square ends and 
chapels and an arcaded choir screen which divides the raised Sanctuary from 
the lower nave of the Church. 

The walls of the buildings are, of course, of stone but in many instances 
the naves and aisles of the Latin-Byzantine churches are not vaulted and the 
roof timber are apparent from the interior. Usually the shafts of the larger 
columns are made in drums coursed with the stone of the walls or only slightly 
higher, although, in the later period, isolated shafts of smaller dimensions and 
even some of the engaged or tangent columns are monolithic. As the Gothic 
principle of concentration of the loads and thrusts in piers was not yet under- 
stood, the walls are universally of heavy dimensions. In the old Cathedral of 


THE ROMANESQUE AND ALLIED STYLES 


Salamanca we find ribs and in the lower stories an incipient pointed arch, al- 
though the dome at the intersection is distinctly round arched. ‘The Parochiai 
Church of San Juan de Amandi, Villaviciosa, Oviedo, page 25, has a heavy 
series of ribs at the intersection between the Chapel of the main body of the 
church carrying down on to divided column shafts. Nevertheless, they are dis- 
tinctly different from the Gothic rib, the vault of the Chapel being a barrel 
carrying on the side walls throughout its full length. ‘The exteriors of these 
buildings are of great dignity and simplicity. 

San Lorenzo in Segovia, pages 87, 89 and 91, is suggestive of the French 
Romanesque except in the campanile, or tower, which is almost Italian. The 
low pitched roof probably contributes to this, and it is unquestionably the natural 
type of covering for a warm country. In general the roofing material of these 
churches is tile. Tiles of similar appearance are now obtainable in this country. 

The sculpture of the earlier period is strongly reminiscent of Byzantine 
work. Notice how the simple outline and rather flat treatment of the capitals of 
the Parochial Church of Santa Maria de Naranco, Oviedo, page 21, San Miguel 
de Linio, Oviedo, pages 55 to 61, San Salvador de Valdedios, Villaviciosa, Ovi- 
edo, pages 115 and 117, the Hermitage of Santa Cristina, Pola de Lena, Oviedo, 
pages 139 and 141, San Pedro, Zamora, pages 143 and 145, San Adrian de Tunon, 
Villanueva, Oviedo, page 165, Priesca y de Fuentes, Villaviciosa, Oviedo, page 
167, the Basilica de Santa Eulalia, Merida, page 179, the remains of the old 
Monasterio Visigodo, Province of Zamora, page 181 and of the Basilicas Catoli- 
cas of the Province of Cordoba, page 197, contrast markedly with the deeply in- 
cut sculptural qualities of the later Romanesque or transition work to be seen at 
the old Cathedral of Salamanca, pages 43, 45, 47 and 49, or such capitals as those 
of Santa Maria de Villamayor, Infiesto, Oviedo, pages 75, 77 and 79, the ruins 
of Santa Maria del Temple in the province of Valladolid, page 81, San Martin, 
Segovia, page 85, San Lorenzo, Segovia, page 91, San Millan, Segovia, pages 
95 and 97, San Juan de Priorio, Oviedo, pages 103 and 105 (note the bases on 
page 107), the tower of San Esteban, Segovia, pages 153 and 155, and the Pan- 
teon de San Isidoro, Leon, pages 157, 159 and 161. 

The study of this contrast can be further prosecuted by a comparison of 
the running bands, plane ornaments and decorated panels. 


A first group of these can be found in the examples derived from the 
Church of San Juan, Banos, page 33, San Miguel de Linio, page 57, San Mi- 
guel de Escalada, Leon, pages 129 and 135, including the charming inscription 
stones with border of the same church, pages 131 and 133, the beautiful Sep- 
ulchre in the Cloister of the Colegiata de Covadonga, Cangas de Onis, Oviedo, 
page 137, Ermita de Santa Cristina Pola de Lena, Oviedo, page 139, the 
fragments dating back to a period earlier than the Mohammedan invasion from 
Granada, Castulo, Atarfe and Tocon shown on page 1609, the Baptismal Font 
from Sevilla, page 173, the lightly incised decoration and inscription from the 
same district, page 175, the sculptured ornaments of the Cloister of the Colegiata 
de Covadonga, Oviedo, page 185, and the motives from the Basilicas Catolicas, 
probably early examples, preserved in the Cathedral, Cordoba, page 195. 

In the later Romanesque or transition, the sculpture has more relief, free- 
dom and boldness of outline, the porches greater depth with successive arches. 
A composite impression of the characteristics of this detail can be formed by a 
review of a second group including the portal of the Church of San Juan de 
Amandi, Villaviciosa, Oviedo, page 27, the old Cathedral of Salamanca, pages 


THE ROMANESQUE AND ALLIED STYLES 


37 to 49, of which not the least interesting are the sculptured figures and their 
supporting corbels on page 41, the porch of the Church of Ujo, Mieres, Oviedo, 
pages 63 and 67, the Portal of Santa Maria de Villamayor, Oviedo, page 73, the 
vigorous archivolts of the same church, page 75, Santa Maria del Temple, of 
Valladolid, page 81, the apse and chapels of San Lorenzo, Segovia, page 80, the 
lovely porch and sculptured figures (notice the slightly radiating lines of the lat- 
ter) of the Parochial Church of San Millan, Segovia, page 95, supplemented by 
the cornice moulds and corbels of the same church shown on the succeeding 
page, the deeply recessed porch of San Juan de Priorio, Oviedo, pages 101, 105, 
and 107, the last of these giving an interesting detail of the tangency of the col- 
umn shafts and of the arrangement and profiles of the bases, the Portal of Villa- 
viciosa, Oviedo, page 111, the vigorous cross and its niche and the interesting 
column shaft decorations and bases of the same church, page 113, especially the 
wonderfully decorative detail of the Panteon de San Isidoro, Leon, page 157, 
the portal of Santa Clara, Oviedo, page 177, the Abadia de San Quirce, Burgos, 
page 191, and of the Cathedral of Valencia, page 100. 

The foregoing is a suggestion of the possible usefulness of this book in de- 
veloping, by merely a rapid turning of the pages, an appreciative feeling for the 
elemental characteristic of the two main divisions of this period and the evolu- 
tion of this section of Spanish art. 


Although the distinctly ecclesiastical motives of the style may be peculiarly 
applicable in modern architecture to churches of a more spiritual nature, the 
wonderfully successful application of its decorative elements and qualities and of 
the strength that is one of its dominant characteristics by such men as Richardson 
and Louis Ayres to modern problems that are entirely secular, suggests how the 
book may be used in a far wider practical application. 

A bank building that needs the suggestion of massive strength, a library 
that recalls the lore and history of earlier times, such buildings as fraternity 
houses, lodges and temples with a suggestion of the mystic have in them some- 
thing that is at one with the impression induced by Romanesque. By signaliz- 
ing these groups of buildings, I do not wish to imply that other types of structures 
may not be harmoniously expressed through the adaptation of Romanesque orna- 
ment. In any event, the lesson taught by the Romanesque designers of the effec- 
tiveness of contrasting elaborately ornamented spaces and lines with very simple 
backgrounds is one that cannot be too repeatedly impressed upon the minds of all 
draftsmen. 

A particularly useful quality of the Monumentos Arquitectonicos de Es- 
pana is the inclusion of a number of details of iron work, doors, etc., that are 
more or less lacking in similar works recording other styles. Indeed, there is a 
distressing dearth of information about Romanesque iron work, the natural result 
of the long period of time that has elapsed since the iron was forged and also 
because of its attractiveness to invaders as a means of procuring additional ma- 
terial for weapons. Grilles, hinges and door pulls, probably the original ones, 
evidently part of or in excellent harmony with the style are to be found in the 
apse of the old Cathedral of Salamanca, page 45, Santa Maria de Villamayor, 
page 73, a detail of the Parochial Church of San Millan of Segovia, page 93, on 
the main entrance doors of the same church, page 95. There are charming early 
Latin-Byzantine forged grilles in San Salvador de Valdedois, Villaviciosa, page 
117, and some unusual hinge plates on the Puerta Llamada de Lerida of the 
Cathedral of Valencia, page 199. 


THE ROMANESQUE AND ALLIED STYLES 


Furthermore, the manner in which the doors of some of the churches were 
constructed is of interest and there are a few examples showing this quite clearly, 
notably in the Parochial Church of Ujo, Oviedo, page 63, Santa Maria de Villa- 
mayor, the same province, page 73, the Parochial Church of San Millan, Segovia, 
page 95, of San Juan de Priorio, Oviedo, page 101, and the Portal of the Valen- 
cia Cathedral, page 199. The arrangement of studs or nail heads in the last men- 
tioned door, especially the peculiarly interesting bands of iron work already noted 
that cross it as hinge plates are unusual and contain suggestions that might be use- 
ful in modern application. The iron decorations binding the heavy planks of the 
door together continue the line of the stone but are different from it in character. 
They terminate on either side of the axis of the door in open work flowering 
finials of unlike design, so similar in general appearance, however, that this fact 
passes unnoticed but gives added interest when a minute examination is made. 


The windows of the old Cathedral of Salamanca, pages 47 and 49, contain 
some leaded glass that is interesting because it is indicative rather than unusual. 
The window of San Miguel de Linio, page 53, is filled with tracery that is 
novel and suggestive. A somewhat similar tracery is to be seen in San Salvador 
de Valdedios, page 117, and a design that might be appropriate to such use is 
found in San Pedro, Zamora, page 145. 

The book contains quite a number of inscriptions, usually in a rather sim- 
.ple form of block letter, rather tall in proportion. Where the lines in the panels 
of San Miguel de Escalada, pages 131 and 133, do not fill out adequately, a little 
figured leaf or cross, incised in manner somewhat like that of a letter, has been 
added to satisfy the eye. It seems hardly possible that the arrangement of the 
letters in the titular panel of San Pedro y San Pablo, page 147, waseun- 
intentional. ‘The three small letters at the left of “Paulus” are distinctly smaller 
and the “VS” of Petrus, receding from the center of the composition on the right, 
is markedly reduced in height and balances the small letters at the right of 
the center. As a result, the gray of the whole composition unites with the 
circular motive on the axis. It diminishes in a distinctly decorative manner 
on either side, so that the border frames a form of free silhouette, without 
harshness, that carries the eye back to the cross in the center. Such work 
as this immediately raises the question why we should be so inexorably tied 
down to measurements and dimensions in our modern work. As a mat- 
ter of fact the old Greeks, the exponents and high priests of classicism, 
were astonishingly free when it came to the matter of inscriptions or even 
of sculptured ornament. If a line deviated too far to the right, another 
line was made to deviate in the opposite direction to restore an agreeable rela- 
tion. Although a rule may have been prescribed, that rule was always made 
subservient to the decorative effect. 

There are three more beautiful inscriptions to which I wish to call atten- 
tion before leaving the fascinating review of these plates. On page 173, is a sepul- 
chral stone with a cross and two incised doves. The letters again are higher 
than wide, the space between the lines about half as great as that of the letters. 
At the bottom where the lines do not fill out to the exact square, the lowest line 
has been set off from the harsh marginal delineation. The balancing of the let- 
ters in the shaft shown in the center of page 175, makes the inscription a real 
ornament that harmonizes with the vertical lines of diaper pattern on either 
side. ‘The same success in balancing a group of letters is to be found in the cir- 
cular motive in the center of page 179. Notice that the letters themselves are 


THE ROMANESQUE AND ALLIED STYLES 


slightly inclined in order better to fit the frame. Finally, the series of hori- 
zontal lines in the inscription at the left of page 181, is remarkably decorative, 
the contrasting of large and small letters brought back to rhythm by the succes- 
sive rectangles that enclose them. This last inscription is a very early one. The 
letters, instead of being block letters, or with only reminiscent end enlargements, 
distinctly branch out in a recall of Roman design. Where it suited the artists, 
two lines have been placed in the height of a single preceding or following major 
group and yet the whimsicality of these details is made both decorative and dig- 
nified by the balancing of the grays and voids. 

The original work of the Monumentos Arquitectonicos de Espana con- 
tains a lengthy treatise as preface to the plates on each province. These treatises 
are learned in the extreme and full of interesting historical data. Each dis- 
sertation is printed in both Spanish and French. However, the information they 
contain has little of architectural value and the historian would be more likely 
to refer to the original than to gather the gist from such a curtailed resu- 
me as might be possible here. It has, therefore, seemed wiser to omit any review of 
the text and to let the work make its appeal through the illustrations and the 
beauty of the original monuments, with only the general suggestions as to the 
time at which they were constructed and the conditions controlling their crea- 
tion that I have gathered from other sources. 


JOHN VREDENBURGH VAN PELT. 


The Library of Architectural Documents 


RAWINGS and photographs of the architecture of the past are indispen- 
LD sable in the practice and in the study of architecture. However, the books 

of plates containing such drawings are so costly that many architects are 
obliged to work under the handicap of an inadequate library and most draftsmen 
and students must depend entirely upon the books in the office or school, when 
they might derive much inspiration and development from studying such books 
at their leisure. 


Knowing this condition and having found that the plate pages from old 
works of architecture published in PENCIL POINTS are appreciated by a large 
number of readers, the publishers of PENCIL POINTS have begun the publication 
of a series of reprints of old books of architectural plates under the general title 
of “The Library of Architectural Documents,” with the purpose of making this 
material available for every one at as moderate a price as is consistent with a satis- 
factory presentation of the matter, not costly publications of limited appeal but a 
practical working library. 


This, the fourth volume in the “Library of Architectural Documents,” con- 
tains one hundred plates of excerpts from “Monumentos Arquitectonicos de 
Espana” and is devoted to masterpieces of the Romanesque and allied styles in 
Spain, together with text by John V. Van Pelt. 


Among the succeeding volumes will be one on French Romanesque, and 
one on the Renaissance, Gothic and Moorish styles in Spain. These will be fol- 
lowed by volumes, rounding out the series into a reference library embracing a 
wide range of the best material, presented in such a way as to meet the require- 
ments of the architectural profession. 


Other Volumes in This Series 


Vol. 1, Architecture Toscane, by Grandjean de Montigny 
and A Famine Reprint. 


Vol. 2, D’Espouy, One Hundred Plates from “Fragments 
d’ Architecture Antique’’. 


Vol. 3, Masterpieces of French Gothic Architecture, One 
Hundred Plates from “Cathedrales de France’’ and 
“Monuments Historiques”. 


INDEX 


ABBEY OF SAN QUIRCE, PORTAL OF THE; PROVINCE OF BURGOS... 191 


PARTISMAL. FONT ANDISEPULCHRAL INSCRIPTIONS; PROVINCES OF 
MON NEA GURY IA ROMER MCE A A METAS 


ASTETCA Or STASEUEALIA+REMATNS OF THE DUCAL (?) COURTYARD 
A A A A eR MATO 


CAPITALS IN THE CATHEDRAL, CÓRDOBA; PROVINCE OF CÓRDOBA 
£95, 195 etO75 2015203 


Suk GH OF SAN [UAN, OF AMANDI; PROVINCE OF OVIEDO......4... Li Sg eg A Whe 
SHU RGH OF SAN JUAN; BAÑOS; PROVINCE OF PALENGIA...........5. ZOE, 
Meee oN SLORENZO; PROVINCE OF SEGOVIA... ii 87, 89, 91 
CHURCH OF sAN -MIGUEE OF ESCALADA, DETAILS; PROVINCE OF 

A SR ghee IZ ot AI Soa Oa ae Moe SIENA O A A ea PAI Talos use 
SSA AN MIGUEL OF LINIO; OVIEDO ow ios. tS. e Oe al 


CHURCH OF SAN PEDRO AND SAN PABLO; PROVINCE OF BARCELONA. 147, 149, 151 


CHURCH OF SAN SALVADOR OF VALDEDIOS; PROVINCE OF OVIEDO | 115, 117 





SauRCH.OF SAN SEGUNDO, PORTAL-* OF THE HERMITAGE; PROV- 


A CREE VAL A A eN Sealed IR ba ge 205 
CHuUmGHLOr SANTA CLARA, PORTAL: OF THE; PROVINCE OF OVIEDO 177 
CHURCH (PAROCHIAL) OF SANTA -MARIA’ OF “NARANCO;. OVIEDO; 

SEO EDO ia a a nears ae eR cena ee Are Y ee pe eh 14, 19721 
MHAURCHADE SANTA MARTA OF VALDEDIOS; PROVINCE OFROVIEDO” >.< 7 119,121 


CHURCH OF SANTA MARIA OF VILLAMAYOR; PROVINCE OF OVIEDO 
AS ELA 


IESO ES EVIELA DETAILS A ited A 183 

CHURCH (PAROCHIAL) OF SAN “JUAN: OF. PRIORIO; PROVINCE OF 
DADO AS A a Ve IMR BNE ayes Uns IES IO ona ad Rene 101, 103, 105, 107 

CHURCH (PAROCHIAL) OF SAN MARTIN; PROVINCE OF SEGOVIA. ... 83, 85 


COAURCHA(PAROCHTIAL)OF:SAN MILLAN; PROVINCE OF "SEGOVIA. 5 93,95; 91, 99 


GHORCHs(PAROCHTAL)-OF SANSPEDRO; PROVENGE-OES AVILA. 00% 207, 209, 211 
GHURCH. (PAROCHIAL)OF* SAN “<PEDRO;.. DETAILS: PROVINCE: OE 
TULSA A ds Me dad DE are qUe UE o Lait ect Op ae ©. ce te dees 143, 145 


SOURCE PAROCHTA TS OF- UO PROVINCE OPBGOVLEDO q ceca ce 63, 65, 67, 69 
CHURCH (PAROCHIAL) OF VILLAVICIOSA; PROVINCE OF OVIEDO. .109, 111, 113 


CHURCHES (PAROCHIAL) OF PRIESCA AND OF FUENTES, DETAILS; 
PROVYENCE:DECOVLEDO a cary a o eo eM vse? 167 


COLEGIATA OF COVADONGA, DETAILS OF, SEPULCHRES EXISTING IN 


THE CLOISTER, OP =PROVINCE OF OVIE DO 2 oe 137, 185 
COLEGIATA, EXTERIOR: PROVINGE<OF “ZAMORA a eee 163 
CORDOBA, CAPITALS IN THE CATHEDRAL, FRAGMENTS; PROVINCE 

OF - CORDOBA He an Re RE Se eae ST ire RV a eee E 193,195, 1975204203 
DETAILS OF THE CHURCH OF SAN MIGUEL OF ESCALADA; PROVINCE 

OF LEON: os ta META ra e ee hah eg i a er em ee 129131 MSM 
DETAILS: OF THE- CHURCH ES.0 sere eee ee ee ee 183 
DETAILS OF THE HERMITAGE OF SANTA CRISTINA PROVINCE OF 

OVIEDO. cp tn oe eg o oc TER MR A eee 139, 141 
DETAILS OF THE SACRED CHAMBER IN THE CATHEDRALS OVIEDO: 

PROVINCE (OF 1O VIE DO a a E a ee 123. 1234612 


DETAILS: OF SAN ISIDORO; SECTIONS PRONEN COEN 157; 159/4104 
DETAILS OF THE TOWER OF SAN ESTEBAN; PROVINCE OFSEGOVIA ISS 


DETAILS. OF THE SEPULCHRES EXISTING IN +THE, CEOISTERSEOIES 


GIATA OF COVADONGA; PROVINCE: OF OVIEDO ee 137185 
EXTERIOR OF THE COLEGIATA? PROVINCE OE ZAMORA A 163 
FRAGMENTS, DECORATIVE, TOLEDO; PROVINCE-OPSTOCR DO Ae 187, 189 


FRAGMENTS AND SEPULCHRAL INSCRIPTIONS; PROVINCES OF 
SEVILLA AND HUELVA ooh Se oe 175 


FRAGMENTS FROM THE CATHOLIC BASILICAS PRESERVED FROM 
THE CATHEDRAL, CORDOBA; PROVINCE OF CORDOBA. 193 195, 1977 20taz03 


FRAGMENTS OF PAINTED MURALS; PROVINCE OF GRANADA AND 


JAEN, a Chote Beas RA 169 
HERMITAGE, FORTAL OF; CHURCH OF SAN SEGUNDO; PROVINCE OF 

AVILA ccs e genie een 205 
HERMITAGE OF SAN ISIDORO; PROVINCE OF AVILA...............-.- 213, 215 


HERMITAGE OF SANTA CRISTINA, DETAILS; PROVINCE OF OVIEDO 139,141 
MONASTERY, VISIGODO, REMAINS OF OLD; PROVINCE, OF ZAMORA; 181 


OLD CATHEDRAL OF SALAMANCA; PROVINCE OF SALAMANCA 
35, 37, 39, 41, 43, 45, 47, 49 


OLD TOWER ADJOINING THE SACRED CHAMBER OF THE CATHEDRAL, 


OVIEDO; PROVINCE: OFVOV LEDO. © ee ON 12% 
OVIEDO, DETAILS OF THE SACRED CHAMBER OF, TOWER OF; PROVS 

INCE.OP- OVIEDO 0 VS ene 123% 125, 127 
PAINTED MURALS, FRAGMENTS; PROVINCE OF GRANADA AND JAEN 169 
PALACE OF RAMIRO I;"PROVINGE-OF OVIEDO ee 11,197 21 


PANTHEON OF SAN ISIDORO, SECTION OF, DETAILS; PROVINCE] OF 
LEON... Ss ce os Shes cl Gee Oe at re 157, 159, 161 


PAROCHIAL CHURCH OF SAN JUAN OF PRIORIO; PROVINCE OF OVIEDO 
¡DIOS 10S 2107 


PeroeniAl, CHURCH OF SAN MARTIN; PROVINCE OF SEGOVIA. .4:.. 83, 85 
PAROCHIAL CHURCH OF SAN MILLAN; PROVINCE OF SEGOVIA... .93, 95, 97, 99 
PAROCHIAL CHURCH OF SAN PEDRO; PROVINCE OF AVILA........ Di 209,241 
PAROCHIAL CHURCH OF SAN PEDRO, DETAILS; PROVINCE OF ZAMORA | 143, 145 
PanooeniALeCHURCH OF UJO; PROVINCE OF OVIEDO... ou... 037 097 07,69 
PAROCHIAL CHURCH OF VILLAVICIOSA; PROVINCE OF OVIEDO....109, 111, 113 


PAROCHIAL CHURCHES OF PRIESCA AND-OF FUENTES, DETAILS; 


SS TOUS aC GUNA S08 UB] Oa 8 aw Rete lh oO A da ad coa O O id 167 
PLAN, SECTIONS AND DETAILS OF SAN ADRIAN OF TUNON; PROVINCE 

AC COMP tel Ra NE coc cp AR ea ce a eg N 165 
IAN S SECTIONS ANDSDETAILS OF THE PAROCHIAL CHURCHES OF 

Pie eA AN DORs WEIN LES (PROVINGE OF OVIEDO 4.) onc. nse os 167 
Pom? Or THE ABBEY OF SAN OQUIRCE; PROVINCE OF BURGOS. ..... 191 
PORTAL OF THE CHURCH OF SANTA CLARA; PROVINCE OF OVIEDO.. 177 
PORTAL OF THE HERMITAGE, CHURCH OF SAN SEGUNDO; PROVINCE 

AS eee a AA A A EAL er nS ale ake 6 AN 205 
PORTAL OF LERIDA IN THE CATHEDRAL, VALENCIA; PROVINCE OF 

A el eee A AN ect, Guide Bi Ae Bi dodite Mtg edb ooh 199 
fete a Lino Ore PROVINCE OF OVIEDO 00 oe cu. ose bees eae CeO) 


REMAINS OF THE DUCAL (?) COURTYARD AND CAPITALS, CONSOLE 
AND STONE, FROM THE BASILICA OF STA. EULALIA; PROVINCE OF 


PA OR A E MOR cine a Y AIN DA 171170 
REMAINS OF THE OLD VISIGODO MONASTERY; PROVINCE OF ZAMORA 181 
RUINS OF SANTA MARIA OF THE TEMPLE; PROVINCE OF VALLADOLID 81 


SACRED CHAMBER IN THE CATHEDRAL, DETAILS OF THE, OVIEDO; 
IO MEN CELO ES OVIEDO E ao le E a a Je AZ WaT’ 


SALAMANCA, OLD CATHEDRAL OF; PROVINCE OF SALAMANCA 
35, 37, 39, 41, 43, 45, 47, 49 


SAN ADRIAN OF TUNON, PLAN, SECTIONS AND DETAILS; PROVINCE 
MERO E DI A O TA a e SA ok ON 165 


SAN ESTEBAN, DETAILES OF THE TOWER, OF; PROVINCE OF SEGOVIA” 153,155 


Son hol DORO, DETAILS OR -RROVINGE OF LEON Wn sagee Be hs ee 159, 161 
SANSISIDOROSZHERMITAGE OF PROVINCE Obra VIA he ee DISTELE S 
SAN JUAN OF AMANDI, CHURCH OF; PROVINCE OF OVIEDO.......... PEN PATA 


SAN. JUAN, ¿BAÑOS + CHURGH OF (PROVINCE OR PALE NGIAG Re. a 29.3 e353 


13 


SAN JUAN OF PRIORIO, PAROCHIAL CHURCH OF; PROVINCE OF OVIEDO 
101, 103, 105, 107 


SAN" LORENZO; CHURCH OFF PROVINCE-OF SEGOVIA OL 
SANTA MARIA OF THE TEMPLE, RUINS OF; PROVINCE OF VALLADOLID 81 


SANTA MARIA OF VILLAMAYOR, CHURCH OF; PROVINCE OF OVIEDO 
11d IAS ARO 


SAN MARTIN, PAROCHIAL CHURCH OF; PROVINCE OF SEGOVIA, ..?. S300 
SAN MIGUEL OF ESCALADA, DETAIES OF CHURCH OF; PROVINCE OF 

LEON 699 A Patina oe ag ee oh tale Mabe RS NS A 129, 131,133 1133 
SAN MIGUEL OFSEENIO: CHURCH SO tas ee A 51,.53;,05; 01% DOMO 


SAN MILLAN, PAROCHIAL CHURCH OF; PROVINCE OF SEGOVIA... .93, 95, 97, 99 
SAN PEDRO, PAROCHIAL: CHURCH OF SEROVINCE OR SAVi eee 207; 2097214 
SAN PEDRO, PAROCHIAL CHURCH OF, DETAILS; PROVINCE OF ZAMORA 143, 145 


SAN PEDRO AND SAN PABLO, CHURCH OF; PROVINCE OF BARCELONA 
147, 149, 151 


SAN*“QUIRCE ¿PORTAL OF THEA S BE Yas Fg oe ee ee ee 191 
SAN SALVADOR OF VALDEDIOS, CHURCH OF; PROVINCE OF OVIEDO™~ 115 


SAN SEGUNDO, PORTAL OF THE HERMITAGE, CHURCH OF; PROVINCE 
OF AVILA Sess ia lee Vicia wile ae esac ane ssn eh eee oe 205 


SANTA CLARA, PORTAL OF THE CHURCH OF; PROVINCE OF OVIEDG Wy 


SANTA CRISTINA, DETAILS OF THE HERMITAGE OF; PROVINCE OF 
OVIEDO A A ee 139, 141 


SANTA *MARIA OF "“NARANCO,* PAROCHIAL CHOURCH* OFC OVIEDO: 
PROVINCE OF:SOVIEDO. 2x. LA O ES dE nl 


SANTA MARIA OF VALDEDIOS, CHURCH OF; PROVINCE OF OVIEDO... — 119191 


SECTION OF THE PANTHEON OF SAN ISIDORO; PROVINCE OF LEON 157 
SEPULCHRE EXISTING IN THE CLOISTERV OFS THE COPEeGI TAO 
COVADONGA;. PROVINCE OF OVIE DO. a irae ne eee 137, 185 
SEVILLA, DEFAILS* OF THE CHURCHES* OE ee 183 
TOWER OF SAN ESTEBAN, DETAILS OF; PROVINCE OF SEGOVIA ISS 0 
UJO,:; PAROCHIAL CHURCH OF PROVINCEOF OVIEDO es oy Se, ‘gente 63, 65, 67, 69 


VALENCIA, PORTAL OF LERIDA IN THE CATHEDRAL; PROVINCE OF 
VALENCIA 2 unos ia a Paced NN 199 


VILLAVICIOSA, PAROCHIAL CHURCH OF; PROVINCE-OF OVIEDO. 109 11 AS 


VISIGODO MONASTERY, REMAINS OF OLD; PROVINCE OF ZAMORA.... 181 


TABLA DE LAMINAS 


ENE SD re RAMIRO umeeROVINGIACDE OVIEDO E a elke ee ree Rt gait 
IGLESIA DE SAN JUAN DE AMANDI, PROVINCIA DE OVIEDO......... PREP Sere | 
IGLESIA DE SAN JUAN, BANOS, PROVINCIA DE PALENCIA............ 2031 53 
E AS VIEJAS SALMAN AAA ted a vot Su kt evel sg 35, 37, 39, 41, 43, 45, 47, 49 
Pee me Ae MIGUEL DESLLN IO nee iss ee. hiv take a hake A A 
AMES IRA RROOUIALDE-UJO + PROVINCIA DE OVIEDO v0.0... 63, 65, 67, 69 
Pete OU SANTAS MA RIAS DE+VILLAMAYOR: 04.2.5 od (EMP ARE Abe ME 
RUINAS DE SANTA MARIA DEL TEMPLE, PROVINCIA DE VALLADOLID 81 
IGLESIA PARROQUIAL DE SAN MARTIN, PROVINCIA DE SEGOVIA... 83, 85 
Pee st el SAN LORENZO; PROVINCIA DE SEGOVIA: .....00. 00.0504 87, 89, 91 


IGLESIA PARROQUIAL DE SAN MILLAN, PROVINCIA DE SEGOVIA. .93, 95, 97, 99 


IGPESTACPARROQUIAL DE SAN JUAN DE=PRIORIO, PROVINCIA DE 
eM ee te O ose nc A ince, Mate sha neha A Ps tue ede O 1017 10355105, 107 


IGLESIA PARROQUIAL DE VILLAVICIOSA, PROVINCIA DE OVIEDO..-.109, 111, 113 
IGLESIA-DE SAN SALVADOR. DE VALDEDIOS, PROVINCIA DE OVIEDO - 115, 117 
IGLESIA DE SANTA MARIA DE VALDEDIOS, PROVINCIA DE OVIEDO.. 119 Dd 
DETALLES DE LA CAMARA SANTA EN LA CATEDRAL, PROVINCIA DE 

ee O cla RE a aE BN A ean AS 1235-429 


NA O LA E oes. je ca OA ae ad RE en Bok ee EE MOR 127 


pereech@Oul XIisSTENTES EN. EL. CLAUSTRO "DE EA COLEGTIA TA DE 
Pe yr ton GA or ROVINGIA DE VOVIEDO 2 a ah Cae 137 


DETALLES DE LA ERMITA DE SANTA CRISTINA, PROVINCIA DE 
O a nna do a A a ALAS AS y Poy oh Toe Ae, Ont oe Ree 139, 141 


DETALLES DE LA IGLESIA, PARROQUIAL DE SAN PEDRO, PROVINCIA 
A MORAS ae, can tls A Bins ae ames aD E Gana Daa etre lA cel 143, 145 


IGLESIA DE SAN PEDRO Y SAN PABLO, PROVINCIA DE BARCELONA — 147, 149 


MERESTA? Y CLAUSTRO ‘DE SAN PEDRO Y :SAN"*PABLO; PROVINCIA -DE 
BARCELONA eck da E ake PR ca o IAN EU NE A TOR 151 


DETAELES:[DE LA-TORRE DE SAN ESTEBAN +PROVINCIA DE SEGOVIA (153,155 
SECCION DEL PANTEÓN DE SAN ISIDORO, PROVINCIA DE LEON.... 157 
DE GALDES. DE: SAN SISIDOROMPROVINCLA DESTRON A e 159, 161 
VISTA EXTERIOR DE LA COLEGIATA, PROVINCIA *DE+ZAMORAS 2 163 


15 


PLANTA, SECCIONES: YoDETALLES/DESTADBRIAN DES LUNON PRO: 
VINCIA; DE’ OVIEDO 4. A ra chine Agee aa AN ANA 


PLANTAS, TEXTERO, SECCIONES Y DETALLES DE LAS “IGLESIAS PA? 
RROQUIALES DE PRIESCA Y DE FUENTES, PROVINCIA DE OVIEDO 


MIEMBROS Y FRAGMENTOS ARQUITECTÓNICOS Y DE PINTURAS 
MURALES ANTERIORES A LA INVASION MAHOMETANA........... 


RESTOS. DEL-ATRIO DUGALC?)  YrCAPITELES 2c REPISAZY LAPIDASDE 
LA* BASILICA DE STAY EULALIASEROVINGCIAGDE BADAIOZ ae 


PILA BAPTISMAL E INSCRIPCIONES SEPULCRALES. PROVINCIAS DE 
SEVILLA’ Yo HUELVA goo O A SS AN 


MIEMBROS ARQUITECTÓNICOS E& INSCRIPCIONES SEPULCRALES. 
PROVINCIAS DE SEVILLA HUELVA e yee ee 


PORTADA DE-LA IGLESIA* DE SANTA CLARA “PROVEN CLA DESOVE 


RESTOS DEL ATRIO DUCAL (7) Y CAPITELES. ¿REPISA YEARITDA DES 
BASILICA DE STA. EULALTA, PROVINCIA DE: BADATO LN 


RESTOS DEL ANTIGUO MONASTERIO VISIGODO,. PROVINCIA DE 
ZAMORA. AU ia dragado erre la de IR E Sie 2 


DETALLES. DE LA SEPULCROS EXISTENTES ENTER IGLAUSTRO DES 
COLEGIATA DE COVADONGA, PROVINCIA DESOWIE DO 


MIEMBROS ARQUITECTÓNICOS Y FRAGMENTOS DECORATIVOS AN- 
TERIORES A LA IRRUPCION MAHOMETANA, PROVINCIA DE 
TOLEDO. ou. os oe eget a ee Se sO ee 


PORTADA DE LA ABADIA DE S. QUIRCE, PROVINCIA DE BURGOS..: 


MIEMBROS ARQUITECTONICOS DE LAS BASILICAS CATOLICAS Y DE 
OTRAS CONSTRUCCIONES CONSERVADOS EN LAS CATEDR Aa. 
FUERA DE.ELLA, PROVINCIA DE CORDOBA 


MIEMBROS ARQUITECTÓNICOS DE LAS BASILICAS CATÓLICAS, CON- 
SERVADOS EN LA CATEDRAL Y FUERA DE ELLA PROVINCIA 
CORDOBA. 00 SN 


MIEMBROS ARQUITECTÓNICOS DE LAS BASILICAS CATÓLICAS, CON- 
SERVADOS EN LA-CATEDRAL Y FUERA DE EELA PROVINCIA 
CORDOBA... ¿Gu a ale oie ati ge a 


PUERTA LLAMADA DE LERIDA EN LA CATEDRAL, PROVINCIA DE 
VALENCIA codi AS 


CAPITELES DE LAS BASILICAS CATÓLICAS CONSERVADOS EN LA 
MEZQUITA, HOY CATEDRAL, PROVINCIA DE CÓRDOBA .......... 


IGLESIA DE SAN SEGUNDO, PORTADA DE LA ERMITA, PROVINCIA DE 
AVILA LI. a de CP aie A UA A oe 


169 
rit 
173 


175 
177 


179 


181 


183 


185 


187, 189 


191 


193 


195 


197 
199 
201, 203 


205 


IGLESIA PARROQUIAL DE SAN PEDRO, PROVINCIA "DE AVILA SA 207,209: 1211 


ERMITA DE SAN ISIDORO, PROVINCIA  DESAVILA eee 


212 VO 


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A 





Escala de o'006 por metro 
J a & 10 
eae A 


15. 
1 1 PEA a 1 1 ¡Metros 





Planta y Portada de la Iglesia de S. Juan, (Baños,) Provincia de Palencia. 


Latino-Bizantino. 


31 


















































Estilo 





7 PT y as 
ui a 
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it 4 
7 vie 50 
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MONUMENTOS ARQUITECTONICOS DE ESPANA 

















































































































































































































































































































































































































































































































































































































Escala de zo 6 sea de 010 por metro. 
3 4 5 6 


¢ & y 
lentimetro; A See o L aren Se ee A pee A 





Imposta exterior. 
TT ETT 

























































7: ma y 


ECO iiO i 








Escala de o3 por metro. 
$5 1 


> 40 0 Ay 
Conhmebos ai ae eee SS Decimitros 











Detalles de la Iglesia de San Juan (Baños). Provincia de Palencia. Estilo 
Latino-Bizantino. 





io 





p 


1OtI9]UL Tap [ande o 





"OMUPINO Mf 0N4SFT "DINDUMDIDS va y [VAPIPDO 





a — FF 3 A SAR 
may — +r my 





F € £ ’ Wi 
'OLIOQUIL) Á soprsqy 
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pyueyg 


= 


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VNVdSH Ad SODINOLOALINOYV SOLNAWOANOW 


OSNEIO [Pp ryiond e] op pudes, 





























JOLID)UL [IP 101950 Y 








35 


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ERA FER 
OTAN A í 
VITA pee 
NAVA 
































































Fa en a wae aS 















































































































































Estilo Románico. 


Detalles de la Catedral Vieja, Salamanca. 


al 


2 
00 
po 

sf 
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E ESPANA 


+ 


MENTOS ARQUITECTONICOS D 





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= 






































































































































39 














Ye Mares 


se 





VNCO. 


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lo Bi 


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l de la Catedral Vieja, Salamanca. E 


ma 


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*'OMUDUOS OSA “DIUDULOIOS ap DIIMIROLJ ‘vIUDUL_IDS “DÍA Y JDApIJDD D] ap Sayjojaq 


'0199NI9 [OP SPISIIP SP] UW semeIsT 





























































































































































































































VNVdSH AG SODINOLDALINO AY SOLNANANON 


























































































































































































































“e 


"OMUPULOS] O[ST “DIUDULDIDSG ap DIIMIZIAJ (VIUDULDIDY) “VÍ Y JPAPIDO 



































D] IP SINDIIT 




























































































JOLI}UI 9ABU eT ap SaJardez) 








































































































y AH 











VNVdSH Ad SODINOLOALINOYUV SOLNANANON 





43 


Y 


1 X 
ee 
x e 
* 
so “st ' § 
q ~~ A 
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f » 
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4 
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lA y 























































































































































































































































































































































































































- 


ONICOS DE ESPANA 


MONUMENTOS ARQUITECT 



























































































































































































































































































































































































































































































































































































































































































































































































































































ra 
ui 


n 
LA 
fa 


aña 
oa 
: Ae 





Up 
A 


ri 
a 


watt 
ae 


e 





Escala dela 05. p.m: 








Ventana del Abside. 


(Salamanca.) 


to de la Catedral Vieja. 


Cimborr 


side y 


Detalles del Ab 


ÍMICO. 


Romi 


antino- 


~ 
nu 


1 


Estilo B 


Provincia de Salamanca. 


45 








AA 
UNES 








AE ATAN 
SS A 


MONUMENTOS ARQUITECTONICOS DE ESPANA 






























































































































































































































































ant 


























































































































































































































































































































































































































































































































































































































































































































































































































Ventana del 1” cuerpo. 


Detalles del Abside y Cimborrio de la Catedral Vieja. (Salamanca.) 
Provincia de Salamanca. Estilo Bizantino-Romdanico. 


47 


MONUMENTOS ARQUITECTONICOS DE ESPANA 







































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































Ventana del 2° cuerpo 


Detalles del Abside y Cimborio de la Catedral Vieja. Provincia de Salamanca. 
Estilo Bizantimo-Románico. 


49 





MONUMENTOS ARQUITECTONICOS DE ESPANA 


‘iy ou isi 


Ke wea 
























































mt} 
Lee eee aM 
eel ne 
úl i 











My ; 
p GN eo NDS 


ace al UA OLD 
A a ip Seely . 


pa 

















oe Hi ANS NES ; : ales Te) , Aro ae 
Sail ie e Ml a at pias A Dee 
| eae 4 yl is dt aay Dee i (ie | a YY pa oe 
ar Ray E st oa} / Di E ; Ear a e yl > 
: ; Z ae y ts assy e SI 


Me 
! ani a A 


a 
mil 














= ii hg > 
cl iil opr $ 
INT 


SA a E COR es 
; . Se NY A he LID 
7 4 et in 





Ms 








H ing Y Yj; a 
BE Mi E 





E iW ne 
e CEE GN 


Es Aa pardo 
Wt 
IN) ih 


ice Ky Vr 
ACE 








fin a 
nie i If aN 











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= SS e 


== 











==23 











ra Ta 

ae iy 1 

i nit a fie 
AM (ae a 
2 vu AU 




















E 3 








‘in 
Sa ality oud 


Ea 








lm afronte. 








aS i Seat OM ARE als PRs ies Rg i 4 —_ Í Metros. 
10 & o 10 Poy 





Imafronte, de la Iglesia de San Miguel de Linio (Vulgo Lino). 


51 





TU 


JS DE ESPANA 


( 


MONUMENTOS ARQUITECTÓNIC 













































































































































































































































































































































































































































































































































































































































































































































































































































































[NTE Te 


























aT 
tty 














































































































































































































































































































ye 

EOS vif 
SO 
B 


Tas ñ tos a See ats 
Kao it ae 4 = SH! 


, Y 
Y Les 





Ayimez del fastial de la Epistola. 


nedo). Estilo 


7 


Miguel de Linio (Concejo de O 


Detalles de la Iglesia de Sn. 


Latino 


antino. 


o 
~ 


-Bi 


53 








‘OUNUDELG-OUNVT OPUS “opa ap olamuoyj ‘(oury objny) osury ap janhiyy ung ap visajby 





‘SOQTIYSS SOT 9P UO0TIT L099 (7 























































































































Ta 







































Ne ar 


SORIA 


pS Sah 


Nam pa Th | 
A A i do: 
so Bre NID Binet 


GELO ------=----------~---- 


VNVdSH HA SODINOLOALINOAV SOLNANONOW 





y 





ae 





dl 
e 


s 


ONICOS DE ESPANA 


MONUMENTOS ARQUITECT 










































































Pik =o E A Sear See ae ae 
Hp nee ede Beane 











dll 



































antino. 


mM 
“ 


Estilo Latino-Bi 


Concejo de Oviedo. 


Iglesia de San Miguel de Linio (Vulgo Lino). 





MONUMENTOS ARQUITECTONICOS DE ESPANA 


























































































































= 


Ñ ie ON 





















































































































































































































































Mi E : 


} 


10 


















































































































































































































































































































































































































































































































































































































































Mi 


































































































a) 































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































Interior 


Vista Interior de la Iglesia de Sn. Miguel de Linio (Concejo de Oviedo). Estilo 
Latino-Bizantino. 


59 





Fl 
E 


MONUMENTOS ARQUITECTONICOS DE ESPANA 



























































































































































Uf 
SENS er 


CANDO 








































































































































































































































































































































































































0 $ a 7 2 a 4 oi Metros 





A 
vg 12) 10 
ee eee eee í Pies 








Iglesia de San Miguel de Limo (Vulgo Lino). Concejo de Oviedo. Estilo Latino- 
Bizantino. 


61 


MONUMENTOS ARQUITECTONICOS DE ESPANA 























































































































































































































































































































te a Li 

) i Y ANA 
lalo alo 
i i i al Beat 



















































































} l 
pa 
al i 














NOS S SS S SS SS AS GQ QagA]}HA||HWG 
SQA MOE! Mv S S S WS SS SOS Ws z A > 


e 





Iglesia Parroquial de Ujo (Concejo de Mieres). Provincia de Oviedo. Estilo 
Romámco. 


63 





MONUMENTOS ARQUITECTONICOS DE ESPANA 





























































































































































































































































































































































SS o 
GE 
GE 








IN 


Wy W 












































| 


i 
ll 


! 












































Seccion transversal 


Iglesia Parroquial de Ujo (Concejo de Mieres). Provincia de Oviedo. Estilo 
Románico. 


65 





ae MAN ee ANS —S oe 
"Ls 
<s $ 
Sd IN 5 
( y 
, 
E 
> 
= V 
y 
' 
i 
. 
s 
. 
' 





MONUMENTOS ARQUITECTONICOS DE ESPANA 


Ercala de 2,05 p.m 











Detalles del arco de triunfo 






























































NT 
ih 


y il 






















































Escala: de 03 p.mu 





mM 


0 
UW 








ones - 





-+++-a70-—---= 


“Detalles de la portada. 


on A RI one 


Seccion por el centro del arco de la portada. 


Iglesia Parroquial de Ujo (Concejo de Mieres). Provincia de Oviedo. Estilo 
Románico. 


67 


ilies 


ae 


oon 


Y 


. 
' 
‘ 
t 
> 
' 
. 
£ 
' 
+ 
po 
' 
Ed 
. 
1 
y « 
. 
- 
. 
% 
» 
+ 
3 
Pp 
’ 





- 


MONUMENTOS ARQUITECTONICOS DE ESPANA 











* GITO - 

















Bc 


ES 


ES 





A Pe 


yaaa 


el dee o | 




























































































side 


apit 


C 









































Metopas de la portada 


Metopas de la portada 





















































1a de 


Province 


Tveres ) 


jo (Concejo de I 


Estilo Románico 


J 


ot 


Detalles de la Iglesia Parroquial de L 


Oviedo. 


69 





MONUMENTOS ARQUITECTONICOS DE ESPANA 


fs 
2, ye 
de at ai 
LENO ean 
a ami 
A ' 
AUNADO p art lo 

IM 
IO 
A 


it 
a ie 








(Magy 
Mh 
i 











na 




































































SS 


oe 
















































































































































































































































































































































































































































































EA 
Ri 


ne 
{ 

































































at 
aE 









































































































































































































































































































































































































































































































































































































































Ha 
| i eat ifhite 
Mano 


i Nr Fs di mayo 
CAS rad 
ne oy Can i 


ae 
sio 


MEAR ll 
ES |e o) 
















































































































































































































































































































































































































































































































































































AA 
rele 
NS 
Cd, 


NA 
AS aN "id 

























































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































eee! 
















































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































2 


yes 


AD 
Game ele h 
































q: 


ríe 

















a 


























\ 















































OM 



























































Al 






















































































Mel 






























































: 














Vista Interior del Abside. Iglesia de Santa Maria de Villamayor. 
Provincia de Oviedo. Estilo Románico. 


it 


~ 


2 


MONUMENTOS ARQUITECTÓNICOS DE ESPANA 



























































































































































































































































a portada 














































































































































































































































































































































































































































































































































































































































































































/ 
1) 
Uf 


Uh 


es 
Lf 







































































































































































































































































































































































































































































Ih 

























































































i 







































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































73 





ee oa SE te RS Se me IS RS + Sta 





i] 


Seccion de 





o 


Planta de la Ielesia 


£ Pies 


y 





Portada 


Estilo 


Oviedo. 


la de 


OVINCIA 


o del Infiesto), Pr 


4 


yor, (Conce 


illamay 


a de V: 


1 


Iglesia de Santa Mar 


UHICO. 


Romi 




























































































OPUS 


Op 


c 


Mi 


2 


a 


O 


'OMNUPULO M 
op vidmaoag  “(opsoJu] jap 0l299407)) 40ko0wD]p 








APT Go - 
Y oor 10 


>ptsqe [Pp LOW Ul [Sp SIJP ]UITUBUILO SOOTY 































































































O 


9]]PI9(] 



































































































































































































































































































































































































































































































































































































































VNVdS4 HUA SODINOLDOALIMO AV SOLNANONOW 























Ma 


















































my 





mE 


$ 


ae 









Nee 
ar Y NE 





ie 









































"OMUDULOS] O]USH 


‘OpIl2gd Ip viaMIro1g ‘(ojsaifuy jap ol990)) 1OXDUD]N 




















































































































L 


A ap DIAD JT DIJUDY IP DIS 

































































C 


OT dv 


























re 





Ip Ss 











9110197 






























































VNVdSH HUA SODINOLOALINOUV SOLNANONOW 





77 


Ne 


~ 



















































































"OPI 














20 


op vinmaorg “(ojsoafu] jap ol9940 )) AOÑOMB]Y Y op DAD DIUVS 


'OMUDMUO YOST] 























































































































Ip SINDIIT 

























































































































































































‘a 















if 


Ui 


































































































he 


== 


sl 



























































































































VNVdSH Ad SODINOLOALINOAV SOLNANWOANOW 








79 





MONUMENTOS ARQUITECTONICOS DE ESPANA 


CRISTIANO, STILO ROMANICO 
: ESTILO ROMANICO CONSTRUCCIONES RELIC 





Ruinas de Santa Maria del Temple (Céinos-Distrito de Villalon). Provincia de Valladolid. 
Estilo Románico. 


81 


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MONUMENTOS ARQUITECTONICOS DE ESPANA 















































Iglesia Parroquial de San Martin (Segovia). Provincia de Segovia. Estilo Románico. 


83 


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MONUMENTOS ARQUITECTONICOS DE ESPANA 











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Arco de la Portada, Cornisa y Capiteles del Portico de la Iglesia Parroquial de 
S. Martin (Segovia). Estilo Románico. 





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MONUMENTOS ARQUITECTONICOS DE ESPANA 

















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MONUMENTOS ARQUITECTONICOS DE ESPANA 







































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































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Absides de la Iglesia de San Lorenzo (Seg ovia). Provincia de Segovia. Estilo Románico. 


89 





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MONUMENTOS ARQUITECTONICOS DE ESPANA 





















































91 






























































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Detalles de la Iglesia de San Loren 


MONUMENTOS ARQUITECTONICOS DE ESPANA 









Cavitel de la Porta 


Seccion trasversal 













































































































































































































































































































































































22 End py Hi Coutimerres 













































































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Iglesia Parroquial de San Millan (Segovia). Estilo Románico. 


93 





MONUMENTOS ARQUITECTONICOS DE ESPANA 




































































































































































































































































































































































































































































































































































































































































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Detalle dei portada 


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Capitel del abside mayor 













































































Parroquial de Sn. Millan (Segovia). Provincia de Segovia. Estilo 


Iglesia 
Románico. 


95 


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“OITUDULO Mf O]USA 


JOAQUI SAPU Pj 2q =i 








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VNV4S4 Ad SODINOLOALINOAV SOLNINANON 








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“OMNUDIUO NM ONIS 





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SOJINOLOALINOAV SOLNAWOANOW 


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MONUMENTOS ARQUITECTONICOS DE ESPANA 








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Detalle de la portada. 


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Planta del basamento 























Iglesia Parroquial de San Juan de Priorio (Concejo de Oviedo-Caldas). 


Provincia de Oviedo. 


Estilo Romántico. 


101 





4 


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MONUMENTOS ARQUITECTONICOS DE ESPANA 























































































Capitel, del abside. 


Capitel del abside 








































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































Detalle del abside 





il Hay 


Detalle del abside 




































































































































































































































































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Capiteles del arco triunfal 

















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Iglesia Parroquial de San Juan de Priorio (Concejo de Oviedo-Caldas). Provincia 
de Oviedo. Estilo Románico. 


103 


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Capileles de la portada. 








Detalles de la Iglesia Parroquial de San Juan de Priorio (Concejo de Oviedo- 
Caldas). Provincia de Oviedo. Estilo Románico. 


105 


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Iglesia Parroquial de San Juan de Priorio (Concejo de Oviedo-Caldas). 
Estilo Románico. Provincia de Oviedo. 


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VNV4SA Ad SODINOLOALINOYV SOLNINANON 


109 





‘OMNUDULOM O]YSIT “OpMA(Q) ap 


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VNVdSH 4d SODINOLOALINOYV SOLNAWONOW 


111 


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113 


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upeyiod e] op saysng A seseg 






























































































































































































































































































































































































































































































































































































































































VNV4SA AG SODINOLOALINONV SOLNAWONOW 








MONUMENTOS ARQUITECTONICOS DE ESPANA 
































































































oo +967 =--+-—-f ES 




























































































































































































les Capitel del portico 
Capite] del pórtico. 


Iglesia de San Salvador de Valdedios (Concejo de Villaviciosa). Estilo Latino- 
Bizantino. 


Bae 


115 





MONUMENTOS ARQUITECTONICOS DE ESPANA 























































































































































































































































































































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Del testero de la iglesia Del extremo del pórtico A junto al testero de la ig 
e E E ae 


pa £ sE Ba. 




























































































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Seccion Transversal y Ventanas de la Iglesia de San Salvador de Valdedios 
(Concejo de Villaviciosa). Provincia de Oviedo. Estilo Latino-Bizantino. 


117 





| 
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'OMUPULOS] ONIS 5] 


‘OpI2gd ap DIIMROAFJ “(VSOIMAD]A p ap OLIIMO )) SO1PIP]D A IP DAD] JUS ap DISI5] 








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a 





























[euro atu ey ep sejaidey 








VNVWdSd HA SODINOLOALINOAV SOLNANONOW 





119 


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MONUMENTOS ARQUITECTONICOS DE ESPANA 





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Detalles de Santa Maria de Valdedios, Concejo de Villaviciosa. 


121 


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Torre Vieja de la Catedral Adherida á la Cámara Santa (Oviedo). 





















































Estilo Románico. 


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129 














Detalles de la Iglesia de San Miguel de Escalada (Ayuntamiento de Gradefes) Provincia de Leon. 


gantino. 


Estilo Latino-B1 


~ 


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131 


Detalles de la Iglesia de San Miguel de Escalada (Ayuntamiento de Gradefes) Provincia de Leon. 


antino. 


Estilo Latino-Bi 


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133 





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135 








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MONUMENTOS ARQUITECTONICOS DE ESPANA 


Sepulcro de la izquierda 




















































































































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o1 PM 


Sepulcro Existentes en la Claustro de la Colegiata de Covadonga (Concejo de Cangas de Onis). 
Provincia de Oviedo. Estilo Latino-Bizantino. 


137 





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Detalles de la Ermita de Santa Cristina, Concejo de la Pola de Lena. Provincia de Oviedo. 
Latino-Bizantino. 


139 





MONUMENTOS ARQUITECTONICOS DE ESPANA 


Seccion longitudinal 





























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Ermita de Santa Cristina (Concejo de la Pola de Lena). Provincia de Oviedo. 


Estilo Latino-Bizantino. 


141 


a 


—_—— 


¿e 





- 


MONUMENTOS ARQUITECTÓNICOS DE ESPANA 


Capitel del Arco de triunfo. 


Capitel de la interseccion. 

























































Pila baptismal 


Basa de la interseccion. 


Columna de las fenestras. 








143 





Cimaceo del Arco de triunfo 



















































































































































































































































































Escala de $] 6 sea de 0714 por metro. 





Centimetros 


Estilo Latino-Bizantino. 


Detalles de la Iglesia Parroquial de San Pedro (Nave). Provincia de Zamora. 


| 





‘OULJUDELG-OUNYT OfSs] "VAQUIDZ Op DIIMIBOA Y *(02DN) OAPIG UPS ap joinbodsvg DISI] D] ap SIYDII] 












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Iglesia de San Pedro y San Pablo (Barcelona). Provincia de Barcelona. Estilos 
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Iglesia le San Pedro y San Pablo (Barcelona). Provincia de Barcelona. Estilos 
Latino-Bizantino y Románico. 


149 








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Detalles de la Torre de San Esteban (Segovia). Provincia de Segovia. 
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153 





MONUMENTOS ARQUITECTONICOS DE ESPANA 
















































































































































































































































































































































































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Planta, Secciones y Detalles de S. Adrian de Tunon (Concejo de Villanueva). 
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165 





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VNVdSH HA SODINOLOALINOUV SOLNAWANOW 





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MONUMENTOS ARQUITECTONICOS DE ESPANA 






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Iglesia Parroquial de San Pedro (Avila). Provincia de Avila. Estilo Románico. 


209 



































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MONUMENTOS ARQUITECTÓNICOS DE ESPAÑA 


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dl 
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Iglesia Parroquial de San Pedro (Avila). Provincia de 


211 


Avila. 


Estilo Románico. 





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MONUMENTOS ARQUITECTONICOS DE ESPANA 








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¡Y 


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Firs : Y 


te 















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ii its 

pp il il A | 
i AA OEA 
edad 1000 if TT MO 
DIAN) um IN 


HOU UU) TAT | 
gan maT di 











































































































































| EI 
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a thy ae | 



























































































































































































































































| 
| 








































































Ermita de San Isidoro (Avila). Provincia de Avila. Estilo Románico. 


213 











LS 


‘ONUDULON OST “DAP ap mouao1g “(DpapyY) 040piS] UDS ap vjMAT 





Ipisqe [Pp UWOTOIIISG 





— 
z 0 













































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































VNVdSH HU 






















































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































SODINOLO4ALINOAV SOLNIANANON 


215 


¥ UE 5 ¿e 
TS E 


ar: , A A Ñ Je : 
: ee ae: e ape ; 
A es: Es A 2 y 


a 
3 
a 











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¿E 

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wie A * 
ae A S.L tly 
< r oD re THe 

y 
4 
vi 
ni 
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